“One of the greatest harpsichord recordings of all time.” –Eugene Finley

After 15 years, this recording continues to be both popular and controversial. Now in its third pressing, it remains a favorite for Parmentier’s extraordinarily expansive readings of this beautiful repertoire, and controversial for its tangy meantone tuning, based on systems dating from c. 1600 (Zarlino, others) and advocated (if not prevalent) in Paris 60-75 years later.